Qualeasha Wood's latest exhibition features large-scale tapestries that combine her self-portraits with digital artifacts and text, exploring themes of identity and vulnerability as a queer Black woman. Her work often employs satire, particularly addressing complex social issues surrounding race and representation, as seen in her notable tapestry, The [Black] Madonna/Whore Complex. Wood aims to reclaim her narrative, using pixelated imagery to challenge the viewer's perception. Her unique method mixes machine and hand techniques, creating a layered aesthetic that evokes an underwater feel, inviting discussions on societal expectations and self-presentation.
It's important to conceal or play with the level of vulnerability, says the Philadelphia-based artist. As a queer Black woman, she says, she wants to talk about the position that people put me in but I want to come out on top.
In the tapestry, below Wood's stoic selfies, a pop-up window declares, 'Young hot ebony is online; enter salvation.' I narrow in on a problem and like to really poke at it, Wood says. In other words, she likes to troll.
Collection
[
|
...
]